The story behind as Hauschka is not necessarily what you’d expect. Although he is one of the most recognisable 21st Century proponents of what is known as prepared piano – one whose sound is altered by the insertion of alien objects between or upon its strings, hammers and dampers – he was barely aware of the champions of such a practise when he first began his experiments. Even John Cage was a largely unfamiliar name that fateful day when he sat in the studio of his friend Adam Fuest and, frustrated by the sounds he was making, starting placing random objects into the instrument.
What’s stranger still, is the fact that Bertelmann’s first forays into the public world were with major label-hip hop act God’s Favourite Dog and a drum and bass quintet called Nonex. But, when you listen to his music closely, this perhaps makes more sense than you’d initially think: the sound of Hauschka has always been both instinctive and fuelled by a love of rhythm. Bertelmann, you see, is clearly a man who knows his instrument – quite literally – inside out, and he’s as unafraid of approaching it with a fresh sensibility as he is capable of drawing upon an unusually broad church of influences.
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